without centre without limits
06 Jul - 13 Oct 2024
Govett-Brewster Art Gallery, Aotearoa New Zealand
年代 / 2024
藝術家 / Malay．Makakazuwan 瑪籟．瑪卡卡如萬
協作者 /巴卡芙萊 設計工作室
材質 /鋁管、塑膠椅、服飾、雨鞋、飾品
尺寸 /350 x 250 x250 CM
《 Muvalis 變形者 》（影片-Govett-Brewster Art Gallery）
年代 / 2024
藝術家 / Malay．Makakazuwan 瑪籟．瑪卡卡如萬
協作者 /巴卡芙萊 設計工作室
材質 /單頻道數位影片、有聲影像裝置
尺寸 /9分52秒
〈without centre, without limits〉Aotearoa奧特亞羅瓦駐地交流展 2024.11.16-12.15
年代 / 2024
藝術家 / Malay．Makakazuwan 瑪籟．瑪卡卡如萬
協作者 /巴卡芙萊 設計工作室
材質 /單頻道數位影片、有聲影像裝置
尺寸 /12分42秒
《 Daramaw 在這裡存在 ,也在這裡消失 》
年代 / 2012
藝術家 / Malay．Makakazuwan 瑪籟．瑪卡卡如萬
協作者 /巴卡芙萊 設計工作室
材質 /羊毛氈、鐵條、鐵片
尺寸 /基座寬110x高20 x 長55 cm、羊毛氈寬74x高138x厚5cm
nu 'azi ta muvalis mu,
'azi karuwa za atrevung kana dalan i ngawayan.
只有轉變才能讓我們繼續前進，找到通往未來的道路。
＿ Malay‧Makakazuwan 瑪籟‧瑪卡卡如萬《 Muvalis 變形者 》
我和弟弟在 Pinaski 部落由祖父母 (mumu) 撫養長大，在這裡我見證了我的父母和其他族人因為要出工作而離開部落的影響。他們必須在部落和城市之間來回奔波以謀生。就在這來回遷移的過程與記憶裡，成為我成長中遭受挫折後重新獲得力量的水源地。
當我有了自己的孩子後，我開始問自己能傳承給他們什麼；在成長過程中，我是如何學到我們的文化習俗、敘事和核心價值的？在大約 30 歲時，我前往 ruvoahan ——祖先發祥地——參加儀式。這是我第一次觀察到排列 palisiyan（檳榔）的儀式，但更重要的是，聽到 rahan（祭司）用傳統族語對祖靈說的話。這段經歷讓我對部落傳統的理解產生了深遠的影響：終於理解了儀式的流程、我們敬拜的對象，以及我們為誰而歌唱。
muvalis 這件作品從我部落的當代現實中汲取靈感，它慶賀了我們文化的延續和堅持，儘管我們正面臨著並持續面臨挑戰。但我們的傳統能夠存活下來，是因為我們有能力在保留核心價值、習俗和社區的同時適應和轉變。
變形能力是我們身份的核心。這反映在 Pinuyumayan 的創世敘事中，講述了五位原祖從海中出現，登上黑暗土地的故事。兩位祖先犧牲了自己，升上天空，成為了太陽和月亮。浸入光明世界的三位兄弟姐妹誕生了石頭，從這些石頭中孵化出了不同部落的祖先。其中一位祖先是變形者 valis，他的身體不斷變化，有兩張面孔，一張向前看，一張向後看。為了自由行動並在世界上找到自己的位置，valis 消除了他背後的面孔。
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without centre without limits
Govett-Brewster Art Gallery, Aotearoa New Zealand
06 Jul - 13 Oct 2024
紐西蘭戈維特－布魯斯特美術館 臺灣原住民藝術家駐村/展覽計畫
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藝術家：瑪籟．瑪卡卡如萬、潘巴奈、巴鵬瑋、安向·瑪卡卡如萬、Tai 身體劇場、原舞者舞團
編舞：潘巴奈、巴鵬瑋
編劇：黃錦城、瑪籟．瑪卡卡如萬
表演者：潘巴奈、巴鵬瑋、安向．瑪卡卡如萬、Tai 身體劇場、原舞者舞團
攝影：江吟楓
空拍機攝影：多木子 Tommaso Muzzi
剪接：江吟楓、黃錦城、瑪籟．瑪卡卡如萬
服裝設計：瑪籟．瑪卡卡如萬
特別感謝：孫大山、孫優女、林秋月、王春梅、林昌平、莊綉美、孫家儀、撒韵·武荖、Tai 身體劇場、原舞者舞團
國藝會112年2期/常態/視覺藝術/創作
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muvalis (Transformers)
Malay．Makakazuwan
2024
Aluminium, chairs, hemp rope, clothing, boots, accessories
single-channel digital video, sound, 9 min 52 sec.
I was raised by my grandparents (mumu) in the Pinaski tribal community, where I witnessed the impact of my parents and other community members having to move away for work. We must go back and forth from the tribal community to the city to make a living. In doing so, we gain something but also lose something too.
Once I had children of my own, I started to ask myself what I could pass on to them; growing up how did I learn our cultural practices, narratives, and core values? At age 30 I traveled to Ruvoahan —the homelands of my tribe —to participate in ceremony. This is when I first observed the ritual of arranging palisiyan (betel nuts) and, perhaps more importantly, what the rahan (spiritual leader) says to the spirits in our tribal language. This personal experience had a profound impact on my understanding of our tribal traditions: I finally understood the sequence of the ceremonial practices, who we were worshiping, and for whom we were singing.
muvalis draws inspiration from the contemporary realities of my tribal community. It celebrates our cultural continuity and persistence despite the challenges we have had and continue to face. We have survived because of our ability to adapt and transform while still retaining our core values, practices, and community.
Our ability to transform or shapeshift is core to who we are. It is reflected the Pinuyumayan creation narrative that tells of five original ancestors who first emerged from the sea onto a land in darkness. Two ancestors made the sacrifice to ascend into the sky — to become the sun and moon. Immersed in the world of light, their three siblings gave birth to the stones from which the ancestors of the world’s different tribes hatched. One of these ancestors was the shapeshifter valis who had a body that constantly changed and two faces that looked forwards and backwards. To move freely and make his way in the world, valis erased his back face.
"nu 'azi ta muvalis mu, 'azi karuwa za atrevung kana dalan i ngawayan."
Only transformation allows us to keep moving forward so that we can find the path to the future.
＿ Malay‧Makakazuwan 《 muvalis》2024
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Artists: Malay Makakazuwan, Pan Panay, Lrimilrimi Kupangasane, Ansyang Makakazuwan, Tai Body Theatre, Formosa
Aboriginal Singing and Dance Troupe
Choreographer: Pan Panay, Lrimilrimi Kupangasane
Screenplay: Huang Jin Cheng, Malay Makakazuwan
Performance: Pan Panay, Lrimilrimi Kupangasane, Ansyang Makakazuwan, Tai Body Theatre, Formosa Aboriginal
Singing and Dance Troupe
Photography: Jiang Yin Feng, Tommaso Muzzi
Editor: Jiang Yin Feng, Huang Jin Cheng, Malay Makakazuwan
Costume Designer: Malay Makakazuwan
With thanks to: Paelavang Tayzang, Paelravang Asanu, Ulai, Vilin, Syuh Makakazuwan, Chuang Shiu Mie, Paelavang Tivitiv, Sayum Vuraw, Tai Body Theatre, Formosa Aboriginal Singing and Dance Troupe
◆ NCAF Grants 2023